NOMAD IN SICILY: A FASHION STORY CAPTURED BY PIERGIÓ JOREMIA

Numéro Netherlands presents ‘Nomad in Sicily,’ a fashion story featured in our 11th print issue, ‘Odyssey.’ Captured by Piergió Joremia and starring Nadia Tereskiewicz among beautiful dancers, this editorial narrates an elegant dance between the talents and nature’s barren landscape.

Just a few hours from Rome, FRANCK ALAN-STEED meets up with Nadia to talk about her creative process. Despite her packed schedule—she’s in the midst of filming a western that promises to be the most iconic of the decade—she takes a few moments to answer all our existential questions. We settle into a dusty little Fiat 500 with her at the wheel, and though we don’t exactly know where we’re headed, we try to understand how this radiant 28-year-old Franco-Finn, whose path is anything but ordinary, manages to keep her youthful dreams intact in the turbulent world of cinema.

dress MUGLER
ring CARTIER
background
leggings FALKE

You're currently playing one of the lead roles in a western that’s shaping up to be epic. How is the filming going?

It’s far from relaxing. This morning alone, I spent hours climbing over rocks before diving into a cold reservoir. This afternoon, I was galloping on horseback, fleeing the villains in the film. But it’s an incredible opportunity to work in such stunning landscapes. Yesterday, we filmed with buffalo in the background, and the immersion in the 1870s felt complete and absolutely magical! The pace is relentless: in Italy, we shoot six days a week. But the collaborative atmosphere and the passion that drives everyone give me a special kind of energy. The project is so powerful that even when I’m tired, I still feel thrilled at the idea of filming!

You've been keeping up this pace for several weeks now. How do you manage to look so radiant? I don't see any dark circles under your eyes!

It’s the Italian air! But yes, I’m entering my third week of filming, with five more to go, and I’m starting to feel a little tired. The role is amazing, I’m having so much fun playing it, and I have a wonderful co-star. Plus, it’s an adventure because we’re making a western! I watched tons of westerns during preparation, as we’re sticking to the genre’s conventions while trying to bring a modern twist.

left to right
alexandre wears full look BALENCIAGA
nadia wears full look TOM FORD
extra dancer wears top and trousers OUEST PARIS, shoes DIESEL, necklace VANN

The film is called Testa o Croce, and the plot seems quite mysterious. What convinced you to take on this project?

The directors of the film had previously made The Legend of the King Crab, which was presented at the Directors' Fortnight in Cannes a few years ago. I’ve wanted to work with them for a long time. We connected almost by chance, thanks to Francesco Vedovati, the casting director for their new project. I was immediately drawn to the role. The filming is in Italian, which is both immersive and demanding, but also incredibly enriching.

Filming in another language requires much more effort to get into character?

Yes, it's quite a challenge! I had learned more scholar Italian, but here I have to adapt to period dialogues, which makes improvisation more difficult. It’s also a different way of approaching acting. When you speak another language, it changes how you think, and that heavily influences how you portray a character. You can’t just think in French and translate—it doesn’t work that way. It took me some time to internalize that and improvise naturally. But stepping out of my comfort zone has taught me so much.

nadia wears full look CHRISTIAN DIOR
alexandre wears full look DIOR MEN

You’re passionate about Italian culture, especially literature. What books would you recommend to our readers?

There are so many! One of my favorite books is The Art of Joy by Goliarda Sapienza. It’s a deeply feminist work about the life of a woman who goes through numerous hardships while remaining incredibly free and generous. This book had a huge impact on me and continues to be a source of inspiration in my daily life. Christ Stopped at Eboli by Carlo Levi also left a strong impression on me during my studies, and I absolutely love *The Beautiful Summer* by Cesare Pavese. Italian literature has always held a special place in my heart. Another book that resonates deeply with me is Last Summer in the City by Gianfranco Calligarich. It tells the story of a man who never manages to live the love story he imagines. That sense of wandering really made me dream.

Has any literary character ever inspired you in one of your films?

Absolutely! You’ve reminded me of Agostino by Alberto Moravia. That book particularly inspired me for a film I acted in, The Red Island. It’s the story of a child discovering the world through the way he views his mother. The mother-son relationship is central to the film, and that’s what struck me in Agostino as well. It’s fascinating to see how a child’s perspective can reveal so much about the maternal figure.

You don't just stop at Italian, though—you’re fluent in Finnish too. Does this Franco-Finnish background influence your way of working or approaching roles?

It probably does, yes. Growing up between two cultures likely gave me an open-mindedness and a particular sensitivity. Finnish is very different from French, and speaking both languages at the same time helped me realize early on that each culture has its own unique way of seeing the world. That definitely enriches my acting and my approach to roles.

dress ZIMMERMANN

You won the Cesar for Most Promising Actress for The Almond Trees. Did that film give you new perspectives?

Beyond the Cesar, it was a very special experience for me because working on that film made me realize I wanted to become an actress. My journey was quite parallel to the character’s. Valeria Bruni Tedeschi, the director, taught me to explore emotional areas I had never accessed before, and she did so with a lot of serenity. I learned to let go during filming, and I had a real revelation. That’s when I understood that I wanted to pursue this profession. Valeria Bruni Tedeschi has a very unique way of working—she loves unpredictability, blending reality with fiction, and she’s passionate about her craft. She taught me how to build a strong sense of solidarity and the importance of intensive rehearsals. Since that moment, I’ve felt that a huge part of acting is unconscious. It’s all the preparation work we do beforehand that comes out in the performance. We worked on many scenes to fuel our imaginations and find a common language.

nadia wears dress ZUHAIR MURAD
dancers wear cape IMANE AYISSI, top and trousers NEWSPEAK, top OUEST PARIS, leggings FALKE

Your work is internationally recognized. You made your breakthrough at the Cesar Awards, but you also won a prize at the Tokyo International Film Festival. Has that changed the way you select your roles?

I did win Best Actress at the Tokyo International Film Festival. It was my first award, and it was quite surprising—I didn’t expect it at all. I’ve always been fortunate to choose films I really wanted to do and to work with people I genuinely wanted to collaborate with. Filming Baby-Sitter, directed by Monia Chokri, was one of my most memorable experiences. Monia has an incredible cinematic knowledge and a sharp sense of comedy with dynamic and rhythmic punchlines. Yet she maintains a very precise vision during filming, paying close attention to specific shots and carefully crafted staging. Despite all that, everything flowed remarkably well, and I remember the joyful and quirky atmosphere on set.

Do international projects appeal to you more?

We’re incredibly lucky in France to have such a rich and diverse cinema. There are so many different kinds of films and so many possibilities to explore. I truly believe we should appreciate everything our own cinema has to offer. Whether it’s national or international, what matters most is the way a story is told. It’s a bit like learning a new language—it opens up unexpected perspectives. What draws me in is the unique vision a director can bring to a subject. Cinema transcends all borders. When I see international audiences watching our films, I find it amazing. For example, François Ozon’s film The Crime Is Mine was a huge success abroad. It’s touching to see that humor, even if perceived differently across cultures, can bring people together.

dress DEL CORE

So cinema is almost a universal language?

Why “almost”? It’s a wonderful idea to share our cultures through images, music, and stories. Personally, I’m particularly passionate about Nordic and Italian cinema. Every culture brings something unique, and in terms of directing, each country has its own way of working. But a lot depends on the project and the filming teams. From experience, it’s invaluable to be guided by a director, to dive into his world and let your creativity flow in service of his story. It’s this combination of freedom and structure that inspires me.

When will we see you behind the camera?

I don’t think I want to direct. Directing and acting are two different professions. I’m deeply passionate about acting. I love the idea of diving in to different worlds by working with other artists. Being a director is a whole other vocation. Some actors have that dual calling, but for now, I’m fortunate to be able to fully focus on my acting career.

full look DIESEL

TEAM CREDITS:
talent NADIA TERESZKIEWICZ
photography & director PIERGIÓ JOREMIA
styling JOY SINANIAN
interview FRANCK ALAN-STEED
1st dancer / model ALEXANDRE BOCCARA
extra model / dancers ERWAN JEAMMOT, THÉO MALLET, JEREMIE DEVILDER & EDOARDO LA VECCHIA
makeup VERONICA MARINO
hair GRAZIA ZITO & MANUEL ZAGAMI
photography assistant IVANO BELLINO & FRANCESCO NAVARRIA
dop / 1st operator / editor GIUSEPPE COCO
video assistant / 2nd operator / drone operator SAMUEL LUCA
fashion assistant CAMILLE HUGUENIN
production AGNES & SASHA
movement directors ALEXANDRE BOCCARA & ERWAN JEAMMOT
bts AMBRA ROMANO
special thanks to BAR CRATERI SILVESTRI, NINO, SIMONA, FRANCO AND ALL THE FAMILY